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Ghost Song |OT| A Journey of Hope
- Thread starter vixolus
- Start date Nov 1, 2022
- Nov 11, 2022
Bede-x said: Is the game much longer than Spoiler the five ship parts? I have four of them now and there's still tons of stuff to buy in the shops, but there's not a lot of unexplored places left on the map, aside from a single exit and the red door, so if there's only one piece left, it seems there's much you can't buy unless you start grinding? And can you keep playing after completing it? Click to expand... Click to shrink...
Euler said: Spoiler There's very very little content left after the five ship parts. I dunno about your second question since I uninstalled the game after finishing it but it seemed likely. Click to expand... Click to shrink...
Bede-x said: Thank you so much. Spoiler Seems like a rather short game, especially considering how much time is spent on mandatory backtracking after every ship part and it has far more upgrades than a regular non-griding playthrough can buy. Click to expand... Click to shrink...
jett said: I think the length is perfectly reasonable, the in-game timer says 16 hours for me. Click to expand... Click to shrink...
- Nov 12, 2022
- The movement speed. Irritatingly, there's a module that makes you a bit faster but it's in a hidden area and you have to beat a secret, hidden boss to get it. I'm not sure I'd've figured it out without a map/guide.
- Three out of five of the ship deliveries are close enough that you end up traversing that area a fuck ton and it's just not that interesting.
- The overall mystery is not satisfying.
- While I personally didn't mind this too much, having story delivered in drips through multiple, slow, character interactions is not charming or respectful of the player's time.
- There were shortcut doors that remain locked even after getting almost 100% of everything else.
- The ending is...well it's an ending at least?
- The in-game map seemed slightly inaccurate in places, and was also inconsistent in that a few rooms actually showed the interior architecture, but the most were just big squares. One or the other, not both.
- Speaking of the map, the amount of weird "nothing" alcoves is way too high. Some people are complaining that there's too many rooms without any interaction, and sure there is a lot but I don't particularly mind those. What I *DO* mind is little nooks and crannys that have nothing in them but look just like other nooks with hidden rooms. They just disrupt the flow and make traversal more confusing than it should be.
What happened to the developer who made this, like as a poster? Does he still post here?
GamerJM said: What happened to the developer who made this, like as a poster? Does he still post here? Click to expand... Click to shrink...
Messofanego said: Permabanned due to implying Will Smith should be put in a cage like an animal after the slap incident. Will Smith resigns from the Academy With all the streaming services in dire need of exclusive content, there will always be a gig. Sure After Earth was a turd, but those other flops, and Suicide Squad, were better for him being in them. He’s charismatic and engaging. What he did was incredibly stupid, but it wasn’t career ending... www.resetera.com Click to expand... Click to shrink...
I got the fifth part - I guess just a little bit left. Overall, I'm enjoying it. Some of the boss fights are shit (that big ogre thing with the large skull on a leash is awful - I'm not going to beat him)... The traversal is really bad for this type of game. You get upgrades, but not being able to sprint and use the dash (because the dash wipes out stamina) is a big botch. Fast Travel is basically useless as well. The upgrade systems are good, the map design is fine. The music is really sparse, but the tracks that hit - hit really well IMO. Not sure where I need to go to finish the game, I'll talk to the people when I play again and see if they guide me. They probably won't. Overall, though - it's a much much lesser Hollow Knight. Not sure what took him 9 or whatever years to make this. I'd say a strong 6.5-7/10.
- Nov 13, 2022
Just beat it. Had to look at walkthrough video to find out where final boss was. So random and traversal is so shit that it's hard to explore fast. Those robot doors you apparently have to use the pebble item On a particular spot to get up to some scientist and he opens them. But that pebble item is a one use and can be used anywhere. Suffice to say I used it at the wrong spot so the doors will forever stay shut.
Hrm. So is the consensus pretty much that this is more like Hollow Knight (but not nearly as good) than Metroid?
oatmeal said: Just beat it. Had to look at walkthrough video to find out where final boss was. So random and traversal is so shit that it's hard to explore fast. Those robot doors you apparently have to use the pebble item On a particular spot to get up to some scientist and he opens them. But that pebble item is a one use and can be used anywhere. Suffice to say I used it at the wrong spot so the doors will forever stay shut. Click to expand... Click to shrink...
Nessus said: Hrm. So is the consensus pretty much that this is more like Hollow Knight (but not nearly as good) than Metroid? Click to expand... Click to shrink...
crienne said: Not exactly. The pebble is a one-time use but to go up to the scientist's ship you have to rest at a certain spot anytime after using the pebble. It's the very top of the cliff on the right side of the crash site . I'm pretty sure the doors are still locked in my game even though I did the thing though so who knows what happened there. Click to expand... Click to shrink...
oatmeal said: Overall, I'm enjoying it. Some of the boss fights are shit (that big ogre thing with the large skull on a leash is awful - I'm not going to beat him)... Click to expand... Click to shrink...
oatmeal said: The traversal is really bad for this type of game. You get upgrades, but not being able to sprint and use the dash (because the dash wipes out stamina) is a big botch. Fast Travel is basically useless as well. Click to expand... Click to shrink...
Gave it another shot. Beautiful and moody like Hollow Knight, but gameplaywise its clunky and unenjoyable. Too bad. Friend got hyped about this one, bought her Hollow Knight.
whiskeyjack-YT said: Gave it another shot. Beautiful and moody like Hollow Knight, but gameplaywise its clunky and unenjoyable. Too bad. Friend got hyped about this one, bought her Hollow Knight. Click to expand... Click to shrink...
This game feels very weird, I'm not sure if a patch will be added like they did with Elden Ring where some side quests were left in the middle on release only to be finished with patches, there are some items that have no use and the ending feels so rushed and ...sudden? I don't know, was enjoying it but the last hour really took a bad turn.
I have to agree with everyone else here. Gameplay is simply bad. Gun overheating is something I'd never expect from sidescroller action game, and I don't know the purpose of it other than annoying the player. Damage indication doesn't exist. In Metroid, you kill everything in a few shots. In Souls game, enemy has health bar to show you if you're doing enough damage. Here, nothing. You be hammering on an enemy for a minute, should you give up? Maybe the next hit would kill it?
Celestial Descend said: I have to agree with everyone else here. Gameplay is simply bad. Gun overheating is something I'd never expect from sidescroller action game, and I don't know the purpose of it other than annoying the player. Damage indication doesn't exist. In Metroid, you kill everything in a few shots. In Souls game, enemy has health bar to show you if you're doing enough damage. Here, nothing. You be hammering on an enemy for a minute, should you give up? Maybe the next hit would kill it? Click to expand... Click to shrink...
Kyubajin said: There's a module early on that shows enemy health bars. Click to expand... Click to shrink...
- Nov 14, 2022
Celestial Descend said: Really? I gave up before I could find it. It's a bad idea to make basic function like this a pickup upgrade. Click to expand... Click to shrink...
Kyubajin said: It was the same in Symphony of the Night... and that game had even more relics for other stuff like showing names, making items last longer before disappearing, etc. Click to expand... Click to shrink...
I'm at the last boss, will probably finish it tonight. I agree with everyone's criticisms, but I've still mostly enjoyed it. It's still an impressive game to be made by just one person, and the soundtrack is pretty great too.
Celestial Descend said: I never played Symphony of the Night. I did play Aria of Sorrow and all three on the DS, and I don't remember anything like that. It seems some developers learned their lessons. And it's not just not showing health bar. It's putting HP spunge enemy at the start of the game. I don't need health bar in castlevania because I don't have to hit an enemy twenty times to kill it. Click to expand... Click to shrink...
- Nov 17, 2022
I got all ship parts. What should I do next? I don't get it. I just want to finish the game.
Garegga said: I got all ship parts. What should I do next? I don't get it. I just want to finish the game. Click to expand... Click to shrink...
Don't forget there are 2 endings, one which implies the true identity of the Deadsuit. The pebble can be used at the top of the mountain in the crash site, you have to shut down for a bit for it to work and it'll give you extra context about why the moon was destroyed. As for the second ending... You will need to go beyond the rightmost teleporting statue, then finish the game as normal after you see what's up there.
Kyubajin said: Go to the area right of the ship, do you remember a red door which couldn't be opened? Click to expand... Click to shrink...
Garegga said: Thank you. I found the door on a map. I will try to finish the game later. Click to expand... Click to shrink...
Kyubajin said: No prob :) Btw, have you 1CC'ed Garegga? :D Click to expand... Click to shrink...
- Nov 21, 2022
played almost 8 hours so far and while there are some irritating things overall I find it quite enjoyable dark souls influences and the story stuff (started skipping everything) being my main gripes
- Nov 27, 2022
I had this downloaded on Game Pass and wasn't sure what I was in the mood for so I decided to give it a try. I was at first baffled by the game with the mini-boss/enemy at the start taking like 10+ minutes for me to bring down. I didn't realize that there was a way forward without beating him until I had already done so. I haven't had an issue figuring out where to go since and I just returned the first ship part. Like others are saying, combat is pretty clunky and is a major focus of the game. There are some small platforming elements mixed in but nothing more than to add a small bit of variety. There are nice systems in place around the combat and good variety but the actual feel of it is just a bit off. Traversal feels a little slow with how big the map is even with alternating the sprint and dash. I died a few times to the spear hunter guarding the first ship part and getting back to her was a pain, when I did beat her, the game glitched out and I had to reset it and run back again only to find I now have to literally run all the way back to the ship without fast travel. I think it's hovering in the 6 to 7 range for me right now and I will have to see if I am motivated to return the next time I sit down to play or not.
- Nov 28, 2022
I did end up playing through the rest of it and apparently got the bad ending. I looked it up because it didn't make much sense to me and saw that there was a second ending that answers some more questions. The game took a long time to ramp up and then the last three parts were relatively simple to get which felt weird. It was odd that I could just run by the big yellow dude in the Six Finger Woods... I died to him a number of times before getting to that side of the screen and realizing that I should just bail. The last boss was a pushover compared to some of the others but I also found that thing that boosted my Vigor by a lot right beforehand. It reminded me a bit of Annihilation (both movie and book) mixed with Metroid/Hollow Knight. Probably ~7 because of clunkiness but I enjoyed a lot of the atmosphere and music.
- Nov 30, 2022
Played this for a few hours this morning before work? Dam this is right up my alley of "horrible metriodvania, please I just want to go home"
- Dec 2, 2022
Started this yesterday, already 13 hrs in and almost finished Spoiler got the 5 spaceship parts, last boss left I was really surprised by the mixed reception towards the game, sure it has some downsides like the saving points and fast travel, but I really felt the same feeling as when I played Hollow Knight which is one of my favorite games of all time. The atmosphere is great, combat is satisfying once you start getting upgrades, it was a really fun game overall.
- Dec 3, 2022
not having any means of recharging health except for save points, outside of the rare floor bug and flower step (which gives so little health it may as well not exist), really makes things more frustrating than they should be. if you beat a boss and used all your health packs and you've got a quarter of a life bar left, you're just kinda fucked.
- Dec 7, 2022
I've gone back to this after finishing Ragnarok, and spent about an hour catching up. I was horribly lost so I looked at a YouTube video, and I have beaten the boss who gives you the double-jump mod , so now I can continue on to try and get the green ship part. But now I'm stuck on the boss by the green ship part, and I can't even do like a third of damage to her before she burns through my health. I'm not really sure what to do and I constantly get hit by her air dashes. I'll try again tonight but I'm not really in the mood for a hard game right now so I don't know how long I will persevere.
Spear of the Metal Church
After Ragnarok it's nice to have a game that lets you just... play haha That said I'm a bit annoyed you cannot skip/accelerate through the voiced lines (but you can for the text ones).... just, why?
- Dec 12, 2022
How many Shell modules can you get from murdering Rosloks at the pit in Drift Beta? I got the Hardened and Fragile Shell, and I dunno if I should spend more time trying to get another drop, or move on and get more parts.
Mentalist said: How many Shell modules can you get from murdering Rosloks at the pit in Drift Beta? I got the Hardened and Fragile Shell, and I dunno if I should spend more time trying to get another drop, or move on and get more parts. Click to expand... Click to shrink...
- Dec 17, 2022
I was a little flippant about this game. Backed it before I had kids and now I'm playing it on steam deck while the two of them watch cartoons (dad of the year.) This game has a real cool vibe, fun boss fights, difficult without being frustrating, cool art and music. I was like oh another indie 2d metroidvania 5 years after that trend peaked, but this game actually delivers a very compelling and original experience.
Official Giveaway Bot
- Dec 19, 2022
This is a day raffle that will expire in 24 hours. The winner will be drawn at random! Any prizes leftover after the deadline will become available on a first-come first-serve basis.
Anonymous said: Who wants this? Too much stuff on backlog. Click to expand... Click to shrink...
These are our awesome prizes:
Just beat this. It's very very flawed. The combat and traversal feel off. The lack of fast travel points make it a real slog to go back and forth around the map. Yet despite that, I still liked it? Just such a great mood and atmosphere. Really enjoyed the world and learning about it, and at times it felt almost like a survival horror game. It's a shame there is so much bringing it down in terms of gameplay because it could have been great, instead it's just very flawed but still kinda cool.
- Dec 20, 2022
Thanks for the giveaway anon! I liked the demo for this game a lot, but have been tepid about buying it because people's reception of it is all over the place. Will be interesting to see where I land on the full game.
Ghost Song review: a melancholy Metroidvania with a hint of Hollow Knight
Lo-fi beats to die to
Ghost Song is a 2D Metroid-like that's always a feast for the eyes, but a frequent frustration for your head and hands. Its gorgeous art direction depicts a vibrant alien world that bubbles and throbs with bio-mechanical life, where spore clouds and fleshy organic tunnels live side by side with floating metal skulls and impenetrable thickets of wires and cables. It's a fascinating place that seems to morph and change with every passing map segment, calling to mind the animated techno gunge of Akira and Metropolis one minute, and the flowering brilliance of Alex Garland's Annihilation the next. Its roots sink deep, creating a world you'll want to explore every last nook and cranny of as you delve deeper into its underbelly to find out why you're here.
But Deadsuit, your android-like protagonist, makes for a slightly rusty-feeling companion at times, lacking the grace and elegance of Nintendo's Samus Aran, and the nimble dexterity of Team Cherry's nameless knight. It will tide you over until Silksong arrives, for sure, but it also never quite sings in the way you'd hope.
From the off, it's clear Ghost Song owes a great debt to Metroid and Hollow Knight . Deadsuit herself might be a smaller and less imposing presence than Nintendo's fearsome bounty hunter, but her arm cannon and glowing visor feel like they could have been an old suit design that's been saved from the recycling bin. You'll eventually acquire other weapons to use in tandem with the arm cannon, including a spear and a very large (and very good) Buster-like sword, but shooting remains your primary method of interaction with this strange, impenetrable world, and the way you need to plant your feet in order to aim freely with your analogue stick couldn't feel more Metroid-like if it tried. Heck, there are even little yellow bugs that go round and round hugging the suspended platforms in Ghost Song, just like the little yellow spiky dudes at the beginning of Samus' 1986 debut.
The spectre of Hollow Knight emerges when your health bar hits zero, with Deadsuit emitting an eerie shriek and blinding light as she sheds her collection of nanocells and teleports back to the nearest save point
The spectre of Hollow Knight emerges when your health bar hits zero, with Deadsuit emitting an eerie shriek and blinding light as she sheds her collection of nanocells and teleports back to the nearest save point. These nanocells are collected from every enemy you take down, and are what you need to improve your suit's power, health, and durability at special (and very Chozo-like) upgrade statues. As in Hollow Knight, and indeed every other Soulslike you've probably played in the last five years, you can go and retrieve these nanocells by returning to the site of your death, but they'll disappear for good if you fall again along the way.
There's only a small smattering of save points to be found here, but fortunately its hallways aren't so packed with enemies that getting back ever becomes much of a chore. It only starts to become particularly problematic when you accidentally walk into a barriered boss room and get absolutely mullered within the first five seconds, leaving you stuck in a perpetual cycle of either 'gitting gud' or abandoning your cells altogether – the same as it ever was in FromSoft's Souls games, essentially.
Thankfully, those losses are never quite as painful as they are in other Soulslikes. Upgrades still gradually creep up in price over time, but whereas a bad death in Elden Ring , say, can see you lose thousands, if not tens of thousands of runes in a single location, Ghost Song rarely deals in anything more than a couple of hundred. 1000, absolute tops. And yes, it still takes a fair bit of work to earn those cells back if you do have the misfortune to lose them altogether, but when even end-game upgrades come to less than 3000 cells a pop, it just helps to make it all feel a bit more manageable and less like a grind.
That said, there was a moment around the midway point where I was seriously considering doing a bit of grinding, though, as I'd seemingly hit a wall in my ability to progress. Your main goal in Ghost Song is to retrieve five special ship components that will let you and your newfound human survivor friends repair their vessel and (hopefully) escape the planet's static field that brought you all (and the ruins of many other ships) crashing to the surface in the first place. Borrowing from another Metroid-like hall of famer, Ghost Song pulls an Axiom Verge 2 here by placing these five points of interest on your map by default, putting the onus on you to find a viable route and pick your way towards them.
In classic fashion, some of these objectives need special abilities in order to reach them – your double jumps, wall jumps and dashes and the like – but finding these power-ups caused quite a few sticking points for me. You see, there are lots of bosses you'll encounter during Ghost Song, styled as other survivors who have been corrupted by the planet's oppressive atmosphere. Some are compulsory, but most are entirely optional, and defeating them will often net you an extra missile type for your arm cannon, or a new module for your suit, such as giving you a small window of invincibility when you dash, for example, or the ability to sprout healing plants at your feet. These are all governed by how much power you have available to plug into them, and offers a pleasing sense of variety in how you can kit Deadsuit out. A couple of bosses, though, will yield those critical jumping abilities you need, and working out which ones you need to defeat and which ones you can skirt around (as some of them are really quite difficult) can be tricky.
"There are lots of bosses you'll encounter during Ghost Song, styled as other survivors who have been corrupted by the planet's oppressive atmosphere"
This really came to bear when I was trying to get to my second ship component. The game tells you which one you should head to first, but after that leaves it up to you, and having exhausted all other routes, I was essentially left with two options - and both seemed to involve fighting super difficult bosses that locked you into their respective arenas. I just didn’t seem remotely equipped to deal with either of them at that particular moment, although a suit module I eventually found off another boss that exponentially increased my firepower in line with my current suit level certainly did help quite a bit in that respect.
But Deadsuit herself also feels quite stiff in the hands, her jump never quite offering the range or level of control you need to dodge projectiles, and her dash to get past enemies always seemingly falling short of where you'd like. You do develop a certain muscle memory for these things over time, but it's easy to get overwhelmed in these fights, especially when Ghost Song's more run of the mill enemies don't offer anywhere near the same level of challenge.
A clunky protagonist I can live with, but that freeform structure of 'go anywhere in any order' also falls foul of some of the same pitfalls I encountered in Axiom Verge 2, namely that the direction you need to go in to actually find these bosses and components isn't always as obvious or intuitive as it might seem on your map. Once again, there were times when I had to head in almost the opposite direction to get where I really needed to be, making it difficult to judge if you're actually making progress. Having suffered through that with Axiom Verge 2 earlier in the year, this second-guessing of the map screen is something that's been engrained into my psyche with Metroidvanias now, but it also just made me appreciate the elegance and sense of clarity you get from having simple little waypoint markers and mini 'hey, my scanners sure are picking up something weird over here!' objectives in Metroid and Hollow Knight. Some might call them too hand-holdy and that part of the fun is nosing through its squelchy caverns and the like, but my patience does also have a limit for these things.
As it turns out, one of those difficult bosses was entirely optional in the end, and the other involved a monster that actually fled the scene after a while, meaning I didn't need to waste my time bashing my head against it after all. From then on, it was all relatively plain sailing, and by the end of my ten hours with it I'd even learned to judge Deadsuit's dash correctly.
I enjoyed Ghost Song overall, but that middle act slump did almost kill it dead for me, too, which is a shame, as underneath it all, this is a very accomplished Metroid-like for such a tiny dev team - and it will certainly fill that Hollow Knight shaped hole in your life while we wait for Silksong, especially if you're a Game Pass subscriber. There's still plenty to admire about what Old Moon have made here, but there are enough fluffed notes in the mix that it just stops short of being a harmonious whole.
The wait was worth it: Ghost Song is a compelling, challenging, and joyously fun game whose craftsmanship shows itself at every turn.
- 🇺🇸 Humble Games
- 🇯🇵 Humble Games
- 🇪🇺 Humble Games
Buy It From
In the weeks leading up to Ghost Song ‘s multi-platform release, I was watching the trailers and muttering to myself, “hmm, this looks familiar.” And that’s when I remembered: this game originated from a Kickstarter campaign in 2013 . I was one of the first 50 backers for this game, a project for which lead developer Matt White had set a funding goal of $15,000. White raised over $50,000 in this campaign. But, dear reader, I’d all but forgotten about this game. When I look at the 100 or so crowdfunding campaigns I’ve participated in, about 30% remain “undelivered” despite meeting funding goals, and anything that takes four or five years past its estimated completion date, I tend to let out a sigh of frustration and move on. I think many of us have learned our lesson and are crowdfunding more judiciously (and, similarly, developers have learned to set more realistic funding goals ).
And yet, miraculously, it’s finally here. Eight years later, Ghost Song is a real game. I have not gone down the rabbit hole to better understand what, if any, additional funding allowed this passion project to come to light, though I do know the game is published by Humble Games (of Humble Bundle fame). This likely helped with porting and distribution from its original PC build to all current consoles. Beyond that, Ghost Song appears to be largely a one-person project, although Matt White’s brother, Gabe White, is credited for most of the story. Additionally, there are music, sound, and voice acting credits, plus two more programmers. However, the sense that the creative control is held in the hands of a sole individual is evident. One can perceive this when playing other indie darlings like To the Moon and Undertale .
Now that we’ve established that the game exists and that it took its sweet time getting here, it’s important to talk about what kind of game this is. Ghost Song is billed as a “Metroidvania” type of game. And, given the game takes place on the barren lunar landscape of Lorian V and our protagonist is a seeming amnesiac in a space suit with an arm cannon, first impressions suggest siding on the Metroid half. But don’t be fooled. While RPGFan as a site didn’t cover the popular Metroidvania title Hollow Knight (as it lacked typical character growth stats), we saw fit to cover Ghost Song because it leans heavily on familiar RPG character progression. Additionally, there is a “Souls-like” mechanic in that death will forfeit you all of the points, known as “nanogel,” accumulated up to that point (with a return-to-corpse mechanic to recover should it suit you). Furthermore, your suit’s max health is reduced until you recover that same nanogel. These Souls-style punishments can be avoided entirely by selecting an easier difficulty at the start of the game. I personally did not find it too great a penalty and recommend players keep this setting as-is.
So we have a game that kinda-sorta looks like Metroid but has experience points kinda-sorta like Castlevania: Symphony of the Night . And here is where we need to part ways with the somewhat overused subgenre moniker with these two games as their namesake. Ghost Song is a subversion of these 2D platforming action RPGs. It’s open-world and feels free-form, yet it operates on a chapter system. It seems desolate at first, with Deadsuit, the protagonist, having naught but undead monstrosities to interact with. But in time, players who choose to seek it out will be met with well-paced story reveals through dialogue with humans and other forms of life at the game’s peaceful “base camp.”
Combat feels straightforward at first, but the rhythms and patterns available to the player to swap between standard shots, special shots, and equipped melee weapons are many. As platforming action RPGs go, Ghost Song has proven to be the most rich and enjoyable experience I’ve had this decade. However, this comes with one big caveat. If you choose to play this game on the PC (as I did), do not attempt it with a keyboard. While the game allows the player to use a keyboard, a small warning on the title screen lets the player know that a dual analog stick controller is the ideal way to play. The Deadsuit is capable of aiming in 360 degrees while holding an “aim” button, and that does not translate well into keyboard inputs at all. Yes, there are plenty of times in the game where dashing through hallways and blasting missiles forward is all you need to do. But there are just as many occasions where the player must carefully approach a cliff edge and shoot an enemy at just the right angle to get that damage in before the enemy turns around and tears you to pieces.
Games built in the Unity engine allow for great versatility in graphic performance. There’s nothing groundbreaking from a technical level in Ghost Song ‘s visuals, but the world Matt White built is visually striking, somehow managing the balance between cohesion and contrast. Everything in the game looks and feels believably like the sci-fi setting we know it to be: a moon with at least one lost civilization, exotic flora and fauna, and hidden research facilities that may or may not continue to function as intended. The first area explored, “Lupoto,” is a luscious green area with caverns just below the moon’s surface. Later in the game, the player will find “Six Finger Woods,” which I will only describe as nightmarish. The horror element is not lost for one second in this game.
The push-and-pull that makes this game and others like it so exciting is the big challenge followed by the big reward. Of course, it’s not always as simple as killing a big boss and getting the cool upgrade. Sure, that happens as well! But Ghost Song also rewards players for taking long treks without a save point or completing the main quest “part retrieval” missions, where the player cannot use Fast Travel, and a certain type of enemy becomes active and chases the player back to base camp.
There is more to say about the game from the aspects of mechanics and control. I may not be skilled enough to explain it all, or perhaps there is so much joy in some of the discoveries that I’d rather not spoil even this aspect of what is possible in Ghost Song . So I’ll leave it at this: it’s fun, feels fun to play, and handles extremely well. The learning curve is a tad steep, but within about an hour, I felt like I was fully in control of the Deadsuit.
I want to talk about the game’s audio. I have plenty to say about the soundtrack (click link for greater detail); in this game review, I will simply say that composer Grant Graham has demonstrated—in his first game soundtrack—that he can balance the acoustic-electronic soundscape every bit as well as Jim Guthrie did in the iconic masterpiece soundtrack for Superbrothers: Sword & Sworcery . The implementation of the music alongside the many sound effects co-occurring during exploration and combat is top-notch. And the voice acting? Don’t get me started. Though not every line of dialogue is voiced, those that are stand out particularly well. And the lead voiceover artist, Su Ling Chan , brings so much life and personality to the Deadsuit! Her approach to the character suggests that she took time to sufficiently understand who, or what, the Deadsuit really is.
And it’s this last point—who is this Deadsuit?—that brings me to considering the game’s plot. Yes, amnesiac protagonists are an overused archetype. But, just like many other aspects of Ghost Song , this archetype is subverted. I do not wish to spoil or even make a conjecture about what is going on (because even I’m not sure I have all the answers after digging through the game’s many secrets beyond the main plot). I do know this, however: whatever else is going on with the Deadsuit, her(?) lack of memory is not the sort of “convenient amnesia” story-telling you might think it to be. The protagonist’s own story seems to play second fiddle to the story of everyone and everything else past, present, and future. The story’s scope is enormous, with clear potential for DLC episodes or even a sequel. Even so, it may be that Deadsuit is more than merely caught up in the troubles of Lorian V.
The wait was worth it: Ghost Song is a compelling, challenging, and joyously fun game whose craftsmanship shows itself at every turn. The meta-story of this game is that, like a lost civilization, we’re collectively unearthing something ancient, something forgotten, a story that could’ve been lost as so many others were in the early days of crowdfunding indie games. Given its ubiquity across current platforms, there are many options for the seasoned gamer to try out Ghost Song . I look forward to the weeks and months ahead, wherein players will no doubt begin theorizing about the game’s story. Like many in its subgenre, I also think this game will be an optimal space for the speedrunning community to flex their skills. I look forward to it, and hope that this isn’t the last we see of Ghost Song and the Deadsuit.
Intriguing story, aesthetic cohesion, challenge and fun that warrants replay.
Slow start, steep learning curve for the gun-to-melee combat flow.
Ghost Song blends common gaming elements with strange surprises, and the end result is certainly more than the sum of its parts.
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Ghost Song — How to get the other ending and what it likely means
Once you finish Ghost Song , it’s understandable if you walk away with more questions hanging over your head. Why couldn’t Deadsuit leave? Who was Deadsuit? Ghost Song ‘s other ending doesn’t explicitly answer these questions, but it gives us a bit more to chew on. Getting it isn’t difficult and only requires finding a single thing. But you’ll need to take some specific steps before you can get there. I’m going to break down what you need, where you’ll need to go, and what I think it all means.
As for the where, I’m guessing you probably found the robot statue at Ekman’s Crossing. If not, climb the mountain to the right of the Crash Site and keep heading upward. You’ll eventually come to it. There’s a spot that’s rather hard to reach that you may have seen. Getting here can be accomplished with the double jump combined with a dash and using the fist weapon in mid-air to get a bit of extra height. But it’s a bit tricky. Further in, you’ll find a green godseed and an even higher ledge that’s difficult to reach even using the double jump plus fist weapon. It’s apparently possible to make it with this, but I wasn’t able to do so. Here’s where you can find this area on the map.
Screenshot by PC Invasion
How to get the other ending in Ghost Song
If you can’t reach it with the above method, you’re going to need the third jump. The second jump is acquired simply by talking to the Gambler (or the ship’s AI, at least) on the last day, at least if you’ve talked to her before. The third jump takes a bit more legwork. First, you’ll want to have at least 3500 nanogel. Now you’ll need to go see Mabec. If you haven’t found her shop, you likely recognize the name from the Norberg Elevator.
Head to the elevator and use the wall jump to climb the left wall of the shaft. You’ll go through the wall. Follow the pathway until you see a giant head and a couple of flowers. You can access the shop by interacting with the pile behind the flowers. Buy the extra jump module and head back to the spot you couldn’t reach at Ekman’s Crossing. The triple jump will allow you to reach the high wall near where the godseed is and then wall jump your way up. Follow the pathway and you’ll find Charley’s escape pod, with her body lying inside.
This last paragraph and photo will spoil the ending for you, so only read on if you want to read about it or what it might mean. Now all you need to do is head through the red door and initiate the ending sequence by walking up to Construct. Deadsuit will still get irreparably damaged by this, only Pasha will find her instead of Roper. Then Deadsuit implores Pasha to leave her, just as she did with Roper, and then shuts off, seemingly for good. But there’s one very interesting tidbit included here. Deadsuit says, “I’m sorry I left you alone so long” to Pasha, which implies that Deadsuit was Charley’s consciousness all along, somehow caught in the suit. If you talk to Pasha at the Crash Site prior to this, Deadsuit will ask her if she seems familiar to her and Pasha replies that she had thought so earlier. The implication seems fairly clear. That’s all you need to do to get the other ending in Ghost Song .
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The Deserter [ ]
Appears in the long tunnel full of flies connected to the elevator shaft after getting the Phase Dash .
Drops Plasma Burner
Has a weak spot in the back of the head.
Leggett can be seen in the background of the room before the tunnel of flies, tangled up in plant growth.
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11 best and scary Halloween songs, including Michael Jackson and '80s hits
- When you think of Halloween, you probably think of pumpkins, ghosts, and trick-or-treating.
- You'll also likely think of these iconic Halloween songs.
- Below are 11 of the most popular and scary Halloween tracks.
"Thriller" by Michael Jackson (1983)
The most iconic Halloween song of all time, Michael Jackson's "Thriller" was released as the seventh single from Jackson's 1982 album of the same name.
In the song's equally iconic music video, a zombified Jackson performs a dance routine with a horde of his fellow undead.
"Werewolves of London" by Warren Zevon (1978)
The idea for Warren Zevon's "Werewolves of London" is said to have originated from Phil Everly of The Everly Brothers, who, after watching the 1935 movie "Werewolf of London," suggested to Zevon that he adapt the title for a song and dance craze.
"I saw a werewolf with a Chinese menu in his hand / Walking down the streets of Soho in the rain," sings Zevon in the song's hilarious opening line.
"Monster Mash" by Bobby "Boris" Pickett (1962)
Bobby "Boris" Pickett's novelty single "Monster Mash" went to No. 1 on the Billboard Hot 100 chart on October 20, 1962, and stayed there for two weeks.
"Somebody's Watching Me" by Rockwell (1984)
Featuring guest vocals from both Michael Jackson and his brother Jermaine Jackson, Rockwell's "Somebody's Watching Me" topped the charts in Belgium, France, and Spain, and reached No. 2 in the United States.
Rockwell, real name Kennedy William Gordy, is the son of Motown founder Berry Gordy.
"Enter Sandman" by Metallica (1991)
The lyrics to Metallica's "Enter Sandman" are already dark enough.
"Hush little baby don't say a word, and never mind that noise you heard / It's just the beasts under your bed, in your closet, in your head," sings lead singer James Hetfield.
When you find out the song was originally intended to be about a baby dying in its crib, it becomes even more disturbing.
"I Put a Spell on You" by Screamin' Jay Hawkins (1956)
A song about lamenting the loss of an ex-girlfriend, Screamin' Jay Hawkins' "I Put a Spell on You" was banned from radio because of its voodoo overtones and "cannibalistic sounds."
In response to backlash, Hawkins famously began performing the song dressed as a witch doctor and wielding a skull on a stick.
"Psycho Killer" by Talking Heads (1977)
The lyrics to Talking Heads' "Psycho Killer" provide an insight into the mind of a serial killer who is struggling to control his dark desires.
"Better run, run, run, run, run, run, run away," sings frontman David Byrne.
"Ghost Town" by The Specials (1981)
Recorded in the midst of an economic recession in the United Kingdom, The Specials' "Ghost Town" tackles themes of unemployment, urban decay, and violence.
In the song's music video, the group drives through derelict areas of London in the early hours of the morning.
"Ghost Town" spent three weeks at No. 1 in the UK.
"Ghostbusters" by Ray Parker Jr. (1984)
Recorded as the theme tune to the 1984 movie of the same name, Ray Parker Jr.'s "Ghostbusters" spent three weeks at the top of the Billboard Hot 100.
Shortly after the film's release, Parker Jr. was sued by Huey Lewis for plagiarism. Lewis alleged that Parker Jr. had copied the melody for "Ghostbusters" from a song by Huey Lewis and the News called "I Want a New Drug."
The case was settled out of court in 1985 for an undisclosed sum .
"Zombie" by The Cranberries (1994)
"Zombie" is a protest song written by The Cranberries' lead singer Dolores O'Riordan in response to the death of two children in an IRA bombing in the English town of Warrington.
O'Riordan told Vox magazine in 1994 that she was "devastated" by the attack and was upset that those who carried it out claimed to have done so in the name of Ireland.
"The IRA are not me. I'm not the IRA," she said. "When it says in the song, 'It's not me, it's not my family,' that's what I'm saying. It's not Ireland, it's some idiots living in the past."
"Dragula" by Rob Zombie (1998)
Rob Zombie is the undisputed king of Halloween.
Not only has he directed a handful of modern horror movie classics like 2003's "House of 1000 Corpses" and the 2007 remake of "Halloween," but he also boasts an impressive discography filled with horror-themed hits.
"Dragula," a song based on the drag racing car of the same name from the sitcom "The Munsters," is the pick of the bunch.